Saul Williams and Anisia Uzeyman

“I see some cool stuff that I'm not taking, but that I love, or that scared the shit out of me when I was a kid, like Videodrome. The thought of ingesting all of these DVDs into my stomach.”

“Do the Right Thing. Yeah, you're gonna take this? Yeah, go ahead. I have a crazy story with Do the Right Thing, because I was an exchange student to Brazil when I was 16. And the day that I came home after being gone for a year, my cousin was at JFK to meet me at the airport with my parents. And, you know, my parents were like, "We're so happy to see you." My cousin was like, "Yo, wait till you hear this new shit." And she was like, "There's this song called 'Fight the Power' and this movie called Do the Right Thing." Yeah, it's the summer of '89. And so we walked to the car with the luggage, we put the luggage in the car, and like we, you know, I greeted family and all that. And so finally we're like, "Can we turn on the radio?" They turn on the radio, and as soon as they turn it on, you hear "Fight the Power." And yes! And so we're, I'm back in New York for the first time in a year, and it's the first song that I hear on the radio, and I'm so moved that like I'm looking out the window and tears rolling down my eye. And either that night or the next night, I went to the theater to see Do the Right Thing.”

“The Mirror, Mr. Andrei Tarkovsky. I do think that it's with The Mirror that I started to be really, really passionate about what an image, what a framing, what a movement, camera movement is. Also the fragmentation of the story, and the layers, the time layers, how it goes through times in his films in general, and in this one in particular. The opening scene of this film is unbelievable, unbelievable. It's a one-shot, and I know that there is one moment where you see the boom. You see, I've seen this film like, I don't know, maybe, I mean, a lot.”

“Here is a more contemporary film that I'm super happy to see here, it's Time. Yeah. A documentary that is just brilliantly shot, brilliantly edited. It's, it really blew our minds. And aside from the fact that it's such a touching story and follows, you know, such wonderful subjects and what have you, the way that the film comes together is... The editing. The editing, yeah, is really just magical.”

“This is a mutual favorite of both of ours. I mean, when I say a mutual favorite... Yes, In the Mood for Love. But really, I would say everything that Wong Kar-wai has done. Yeah, it has a beautiful relationship to music as well. Yeah, you were saying the other day it's like he sometimes has films like a jukebox. Just kind of like a jukebox musical. Yeah, you know, yeah. I mean, one of my favorite scenes is, you talk about Hendrix and Happy Together. Yeah, yeah, yeah. Movement and he's dancing. Oh my God. Most beautiful actress in the world. In the world.”

“Did we speak about... Yeah, master, master of African cinema from Senegal. He's going into folktale and mythology to, I think, extract some very beautiful metaphor for the present. And I think that's also something that is very African.”

“Can I hand you something else? Oh no! We might have something to say. Oh my God. Pier Paolo Pasolini, Arabian Nights, my God, the colors! I mean the framing, the depth of field, the number of people you see, and also discovering those beautiful faces. And he had also a relationship to actors that is so true, right? Yeah, to bring, I don't know, a life or something that is very pure.”